Double element microphones (X-Y microphones) have been known in the art for many years. The simultaneous use of two microphone elements often produces superior results to using merely one element. Benefits include reduction of feedback and/or unique sound enhancement by effects such as delay, stereo sourcing, etc.
Prior Art FIG. 1 shows a typical X-Y microphone consisting of an assembly which embodies two individual microphone elements connected to a separate service housing via soft, flexible, output cables. The only function of the soft output cables is to conduct the electronic signals from the microphone element to the service housing. The output cables employ no mechanical function to mount the microphone elements. The microphone elements can be mounted by only attachment to separate fixtures which are not a part of the microphone assembly. In particular, there is no prior art depicting methods for mounting X-Y microphones directly on to musical instruments.
Foam enclosures have often been used in the form of xe2x80x9cwindscreensxe2x80x9d or xe2x80x9cwindsocksxe2x80x9d to enhance the performance of microphones. Prior Art FIG. 2 shows a typical windscreen. Other foam enclosures have also been shown in prior art for the purpose of preventing feedback, shock mounting the microphone to prevent distortion, and otherwise enhancing tonal reproduction from microphones. Prior Art FIG. 3 shows a foam enclosure by Debyl in U.S. Pat. No. 4,748,886. Prior Art FIG. 4 shows a foam enclosure for a microphone designed by the author of this patent application in U.S. Pat. No. 5,614,688.
Such devices shown in prior art have reduced distortion from wind and helped to reduce feedback, but neither of these problems have been completely resolved. Debyl""s designs also have the disadvantage of dampening the natural acoustic sound of a guitar where such a foam enclosure is inserted.
Feedback is created when air vibrations originating from electronic speakers re-enter the original source microphone a fraction of a second after the original acoustic signal was recorded. This sequence of events creates a self generating electronic loop which the amplification system cannot manage, and the result is the annoying scream of feedback. If the air vibrations from the speakers can be blocked or delayed from re-entering the source microphone, feedback can be reduced or eliminated.
Flexible shafts in the form of goosenecks are well known in the art of mounting microphones. Prior Art FIG. 5 shows a gooseneck for mounting a microphone on to a musical instrument designed by the author of this patent application in U.S. Pat. No. 5,010,803. However, this design and other prior goosenecks do not provide sufficient xe2x80x9cshock mountingxe2x80x9d to isolate and protect the microphone element from distortion due to ambient mechanical vibrations originating from the musical instrument and transferred to the rigid materials of the gooseneck.
There are existing designs in prior art which do provide excellent shock mounting via a matrix of cables which suspend the microphone element so that there is no mechanical connection to the supporting fixture. But, such matrix mechanisms cannot be effectively mounted directly onto musical instruments due to excessive size, weight, or poor adjustability. A typical matrix mounting mechanism is shown in Prior Art FIG. 6.
Prior art shows many devices for attaching microphones and other transducers to musical instruments. Prior Art FIGS. 7 and 8 show a design from U.S. Pat. No. 4,495,641 by Vernino using suction cups to attach a microphone to a guitar.
Prior Art FIG. 9 shows a design by Petillo in U.S. Pat. No. 4,168,647 to employ a telescoping arm to mount a transducer on a guitar. Prior Art FIG. 10 shows a design by Salak in U.S. Pat. No. 4,404,885 using a clamping device to mount a microphone on a cello or stringed bass.
The above mounting devices are functional, but have limitations regarding:
how inconspicuous the transducer can be placed on the instrument,
the degree of flexibility which the musician will have in locating the transducer on the instrument,
and/or the degree to which components of the transducer or its mounting mechanisms will interfere with the musicians"" ability to play the musical instrument.
The present invention is a unique microphone assembly having multiple microphone elements attached to individual flexible mounting arms, or goosenecks. The goosenecks are physically and electronically connected to a single housing which encloses electronics and other components required to service and operate the microphones. The goosenecks may be maneuvered independently to provide optimum recording of acoustical energy from a musical source.
Much of the description of this invention mentions the use of only two goosenecks. But, it is possible to employ three or more goosenecks having attached microphone elements with any of the devices described herein.
An optional design for a microphone assembly is shown where the goosenecks and service housing are embodied in two separate sub-assemblies which are joined by both a soft flexible output cable, and an elastic cord.
The invention includes designs for an optional foam cover to enclose a microphone element. Porous and non porous materials are embedded within the foam cover which will filter, delay, and/or block access of specific acoustical energy to the microphone element. This will reduce or eliminate feedback and other unwanted sounds from being recorded by the microphone element.
The invention also includes unique methods for constructing a gooseneck assembly to support and position a microphone. The gooseneck design will simultaneously provide excellent isolation, or shock absorption to the microphone element. This shock absorption will prevent distortion of the microphone element caused by ambient mechanical energy travelling along the rigid materials of the gooseneck.
Finally the invention includes unique methods for attaching microphones and other transducers to musical instruments or other fixtures using elastic cords, hooks, clips, and/or two part fastener systems. These mounting methods will position the transducer on the musical instrument in the location for optimum performance, but not so as to interfere with the musician playing the instrument. Many of these mounting methods will require no permanent modification to the musical instrument.